分类任务适合什么adam_他们就是穿什么：ADAM中的服装模拟-CSDN博客

分类任务适合什么adam

In ADAM: E2 & E3, director Neill Blomkamp and Oats Studios produced the highest fidelity clothing ever in Unity. Learn how they built real garments from old-school sewing patterns, then used photogrammetry, Marvelous, and Unity’s Alembic support for real-time results.

在ADAM：E2和E3中，导演Neill Blomkamp和Oats Studios生产了Unity以来最高保真度的服装。了解他们如何从老式的缝制样式制作出真正的服装，然后如何使用摄影测量法，Marvelous和Unity的Alembic支持获得实时结果。

从原始服饰到高科技服饰 (From primitive to high-tech costumes)

If you’ve seen ADAM: The Mirror and ADAM: Episode 3 you probably have a lot of questions. How did they do that? What does it mean? When can I see more? Have a look at the comments on YouTube. People are passionate about these Made with Unity short films.

如果您看过《 ADAM：镜子》和ADAM：第3集，您可能会有很多疑问。他们是怎么做到的？这是什么意思？我什么时候可以看到更多？看看YouTube上的评论。人们对这些“ Unity制作”短片充满热情。

A big part of the global audience’s curiosity is about the incredible fidelity of the ADAM sets and characters, and how they were constructed, integrated and rendered at 30 FPS in a game engine. For an apparently synthetic creation, there’s a whole lotta realism going on.

全球观众的好奇心很大一部分是关于ADAM布景和角色令人难以置信的保真度，以及它们是如何在游戏引擎中以30 FPS进行构造，集成和渲染的。对于一个显然是合成的创作，整个过程都充满了现实感。

On the clothing front alone, we see delicate, full-length hooded robes, roughly woven headdresses and cowls, schlumpy leggings, tough leather gloves, gauntlets, belts and other accessories – a whole panoply of apparently castoff couture, from primitive to high tech.

仅在服装方面，我们就能看到精致的连帽长袍，粗略编织的头饰和罩衫，笨拙的绑腿，坚韧的皮手套，手套，皮带和其他配件-从原始样式到高科技的整个看上去都是off废的时装。

ADAM costumes mocked up at Oats Studios

燕麦工作室模拟ADAM服装

使其真实 (Making it real)

Fascinated by this dystopian clothing and how it came alive in ADAM, we interviewed some of the principals responsible for creating and simulating it for The Mirror and Episode 3. Chris Harvey, Oats’ visual effects supervisor, told us:

对这种反乌托邦服装及其在ADAM中的流行方式着迷，我们采访了负责创建和模拟《镜子与情节3》的一些负责人。燕麦视觉效果主管克里斯·哈维(Chris Harvey)告诉我们：

“The whole approach for ADAM – even the physical environments – was to work from a place where Neill [Blomkamp, director] and I were quite familiar, which is working practical and doing visual FX. There’s something innately real about using tangible and physical elements rather than something that is purely artistic and tech.”

“ ADAM的整个方法-甚至是物理环境-都应在Neill [Blomkamp，董事]和我非常熟悉的地方工作，这是可行的并进行视觉效果。使用有形和物理的元素天生就有真实感，而不是纯粹的艺术和技术。”

Additionally, Harvey’s experience has taught him that when studios do everything digitally, there are lots of details that they typically overlook. “That’s why we prefer to build something in real life – something that you can touch and feel and see.”

此外，哈维(Harvey)的经验告诉他，当工作室进行数字化处理时，通常会忽略很多细节。 “这就是为什么我们更喜欢在现实生活中构建某种东西，您可以触摸，感知和看到的东西。”

And Blomkamp concurs: “We’re building real-life wardrobe and using costume design like traditional film, and we’re going to use photogrammetry to turn it into three-dimensional objects to be draped over our 3D characters in the films.”

Blomkamp也同意：“我们正在建立现实生活的衣橱，并使用像传统电影一样的服装设计，并且我们将使用摄影测量法将其转换为三维对象，并叠加在影片中的3D角色上。”

演示地址

早点开始：铸造前的衣服 (Getting started early: Clothes before casting)

Even before the ADAM casting was complete, Oats gave Kristin Thurber, their costume designer/seamstress, the go-ahead to begin designing the clothing for memorable characters like The Mirror, Needalus, and Marion. Without knowing the exact measurements of the actors, they knew they would be able to tune and tweak the clothing digitally, further down the pipeline.

甚至在ADAM演员表还没完成之前，燕麦就让服装设计师/缝制师克里斯汀·瑟伯(Kristin Thurber)提前开始为令人难忘的角色(如《镜报》，《 Needalus》和《马里昂》)设计服装。在不知道演员的确切身高的情况下，他们知道他们将能够以数字方式对服装进行调整和微调，从而进一步推陈出新。

Like many of the characters in ADAM, Thurber scavenged materials to build her wardrobes. “These are all recycled items of pre-made clothing that have been destroyed, painted, melted, then duct-taped back together and layered. I pillaged a lot that was lying around in the studio.”

像《 ADAM》中的许多角色一样，瑟伯(Thurber)搜刮材料以建立自己的衣柜。这些都是预制衣服的可回收物品，它们已经被破坏，涂漆，融化，然后重新绑扎在一起并分层。我掠夺了工作室周围的很多东西。”

Costume designer Kristin Thurber working on Marion’s clothing

服装设计师克里斯汀·瑟伯(Kristin Thurber)研究马里昂(Marion)的服装

缝纫模式识别 (Sewing pattern recognition)

As she constructed the various costumes, Thurber was working from traditional sewing patterns she developed, which were also an essential ingredient for “rebuilding” the costumes later in CG, as Harvey explains:

在制作各种服装时，瑟伯使用的是自己开发的传统缝纫图案，这也是后来在CG中“重建”服装的基本要素，正如哈维解释的那样：

“People will probably be surprised to learn that we work from traditional sewing patterns – you know, the kinds we saw our moms using when we were growing up – but importantly, nothing is regular in them, oftentimes they’re triangular shapes with weird cuts and grooves and stitches that hold them together, so the way the clothing ends up draping is controlled based on those elemental patterns.”

“人们可能会惊讶地发现，我们从传统的缝制方式开始工作-您知道，我们长大后看到妈妈使用的那种缝纫方式-但重要的是，它们中没有什么规则的，通常它们是带有奇怪切口的三角形形状以及将它们固定在一起的凹槽和针迹，因此衣服的结褶方式将根据这些基本图案进行控制。”

The Mirror’s costume being built in Marvelous Designer. Note the sewing pattern

镜子的服装由Marvelous Designer设计。 注意缝制图案

According to Harvey, most people modeling CG clothing just build a tube, stick it on an avatar and then sculpt it virtually, causing it to move very differently, if not unrealistically, from something that is built from more traditional sewing patterns, which are more attuned to actual human shapes and movement.

根据Harvey的说法，大多数为CG服装建模的人只是建立一根管子，将其粘在头像上，然后进行虚拟雕刻，从而使它的移动方式与传统缝制方式(甚至更多)相比有很大的不同(即使不是不切实际的)。符合实际的人体形状和动作。

两次扫描：将布料数字化 (Two-fold scanning: Digitizing the cloth)

Once the costumes were created, they were taken into Oats’ photogrammetry room to be photographed in high resolution for later reference by Sean Frandsen, a “digital tailor,” as Harvey explains: “Those ‘cyber-scanning’ sessions were crucial so we could see exactly how Kristin intended the clothing to look and drape, then Sean could look at it on the real actors after the scan, and he could make adjustments to his patterns to make sure the digital version draped and moved realistically.”

服装制作完成后，将它们带入燕麦的摄影测量室，以高分辨率进行拍照，以供“数字裁缝”肖恩·弗兰德森(Sean Frandsen)稍后参考，正如哈维解释的那样：“这些“网络扫描”环节至关重要，因此我们可以看看克里斯汀(Kristin)打算如何看待和垂悬衣服，然后肖恩(Sean)可以在扫描后在真实演员上观察它，并且他可以对其样式进行调整，以确保将数字版本垂悬并真实地移动。”

Frandsen explains: “I worked from Kristin’s actual patterns because the pattern stays on the body better, moves how the characters are supposed to move. I try to follow the correct physics of each type of cloth because I have control of all that.”

弗兰德森解释说：“我是根据克里斯汀的实际图案创作的，因为图案可以更好地留在身体上，可以移动角色应该如何移动。我尝试遵循每种布料的正确物理原理，因为我可以控制所有这些布料。”

The real costume being scanned (left) and the simulated version with authentic physics and movement

正在扫描的真实服装(左)和具有真实物理效果和运动的模拟版本

As well as the full 3D cyber-scanned references for volume and colors, Frandsen did a second, closer pass, according to Harvey. “Sean spent hours in a darkened room with this rig we built to take multiple single shots of the thread-weave from 12”-square [30 cm] swatches, giving us 4K resolution. So that step gives us lots of control over the fabric details and colours, which we can use to tile across an entire article of clothing.”

根据Harvey的说法，除了对体积和颜色进行完整的3D网络扫描参考之外，Frandsen还进行了第二次更近距离的测试。 “ Sean使用此钻机在黑暗的房间里呆了几个小时，这是我们为从12平方英寸(30厘米)的色板进行多次螺纹编织拍摄而设计的，分辨率为4K。因此，这一步骤使我们对织物的细节和颜色有了很多控制，我们可以将其用于平铺整个衣服。”

Frandsen explains further: “There were a number of textures we wanted to get. For example, The Mirror has holes in part of her robe, so we needed some opacity. To get that we put a light underneath the robe in the box so we could get a perfect opacity map. Then, without moving the cloth, we’d take eight different angles all the way around the cloth, then put all those angles together. We pick up all the little ripples and even finely woven textures, and capture it all as a normal or a bump or a displacement map. That’s essentially how we would start, by building all of our own maps and all of our own textures. That gives us two UVs [texture maps] on top of all the cloth.”

Frandsen进一步解释说：“我们想要获得许多纹理。例如，《镜报》的长袍上有Kong，因此我们需要一些不透明性。为了得到这个，我们在盒子下面的长袍下面放一个灯，这样我们就可以获得一个完美的不透明度贴图。然后，在不移动布料的情况下，我们将围绕布料始终采用八个不同的角度，然后将所有这些角度放在一起。我们拾取所有小的波纹甚至精细编织的纹理，并将其全部捕获为法线，凹凸或位移贴图。从本质上讲，这就是开始构建所有自己的地图和所有自己的纹理的方式。这使我们在所有布料上都有两个UV(纹理贴图)。”

Detail: The Mirror’s costume showing perforations and opacity

详细信息：镜子的服装显示出穿Kong和不透明

这是通往Unity的绝妙旅程 (It was a Marvelous journey on the way to Unity)

After some work in Photoshop and Adobe Lightroom, the swatches were imported into Marvelous Designer. Working from Thurber’s sewing patterns, Frandsen commenced building the clothing, sewing pieces together digitally, taking great care to realistically mimic the natural characteristics of the fabric, whether it was wool, cotton, leather, etc.

在Photoshop和Adobe Lightroom中进行了一些工作之后，这些色板已导入到Marvelous Designer中。弗兰森(Frandsen)从瑟伯(Thurber)的缝制模式开始，开始制作服装，用数字方式缝制件，并认真地模拟织物的自然特性，无论是羊毛，棉质还是皮革等。

According to Frandsen, this is a key differentiator from people working solely with synthetic cloth: “They’ll bake-in folds that won’t move or look right, whereas with all of the folds we do – nothing significant is sculpted or baked-in so that if a character lifts up his arms, we make sure that all the wrinkles and folds appear and behave exactly as they would in real life.”

根据Frandsen的说法，这是与仅使用合成布工作的人的主要区别：“它们将烘烤不会移动或看上去不正确的折痕，而我们所做的所有折痕–雕刻或烘烤的物品都不重要，这样，如果角色举起手臂，我们可以确保所有的皱纹和褶皱都表现出来并表现得与现实生活中一样。”

Clothing being animated in Marvelous

服装在奇妙的动画

Blomkamp concurs: “For really high-resolution cloth movements, we simulated that outside the system, then we brought that into Unity. And so with all of the difficult pre-compositions done, the computer just needs to render the precalculated cloth so it looks like it’s flowing. It’s still unbelievable that the computer can compute that.”

Blomkamp同意：“对于真正的高分辨率布料运动，我们在系统外部进行了模拟，然后将其引入Unity。因此，在完成所有困难的预合成后，计算机只需要渲染经过预先计算的布料即可，看起来像是在流动。仍然令人难以置信，计算机可以进行计算。”

越过Alembic桥 (Crossing the Alembic bridge)

A key to Oats’ high-fidelity simulation hinged on getting all their geometry data into Unity exactly as they wanted it, as Chris Harvey says: “Using Unity’s Alembic Importer was a super key bridge for us. We needed it to be able to cache large geometry datasets. It’s a way for our artists like Sean to work in a very familiar manner in tools like Marvelous, Maya or 3ds Max and yet also be able to port that stuff very easily into the game engine.”

燕麦高保真度仿真的关键在于将所有几何数据完全按他们希望的方式输入到Unity中，正如克里斯·哈维(Chris Harvey)所说：“使用Unity的Alembic Importer是我们的超级关键桥梁。我们需要它能够缓存大型几何数据集。这是让像Sean这样的艺术家以一种非常熟悉的方式使用诸如Marvelous，Maya或3ds Max之类的工具的一种方式，并且还能够非常轻松地将这些内容移植到游戏引擎中。”

You can read all about Unity’s new Alembic support and how it helped Oats achieve their vision in ADAM in Sean Low’s blog post.

您可以在Sean Low的博客文章中阅读有关Unity新的Alembic支持以及它如何帮助Oats在ADAM中实现其愿景的所有信息。

最具挑战性的服装 (The most challenging costume)

As we know, when you’re innovating processes and taking chances on new effects, you can run into any number of issues, so we asked Frandsen which was the toughest character to dress.

众所周知，当您创新流程并把握新效果的机会时，您可能会遇到许多问题，因此我们问弗兰森，这是最难穿的角色。

“Oddly enough, Marion [in Episode 3] – the character I thought would be the simplest – was actually the hardest due to multi-layer penetrations from all those hoses and stuff she’s wearing, as well as the moving cloth. While the simulation itself might have been easy, the team had to do a lot of fixing, especially Chris.”

“奇怪的是，马里恩[第3集] –我认为最简单的角色–实际上是最难的，这是由于她所穿的所有软管和东西以及活动的布料都经过了多层渗透。尽管模拟本身可能很容易，但团队必须做很多修复工作，尤其是克里斯。

Detail: Marion’s complex clothing showing breathing apparatus

详细信息：Marion的复杂衣服显示了呼吸器

Because of her multiple layers of clothing, Oats decided part way through development not to build everything in Marvelous because there’d be too much data to push through. So some of her under-layers were sculpted more traditionally by senior character artist Ian Spriggs, using a typical cyber-scanning process for the mesh, which they fitted around her, then sculpted it and used it for texture-baking. To finish, Frandsen built the other layers in Marvelous and draped them over top.

由于她的衣服多层，Oats决定在开发的过程中不要在Marvelous中构建所有内容，因为要推送的数据太多。因此，高级角色艺术家伊恩·斯普里格斯(Ian Spriggs)更传统地对她的某些底层进行了雕刻，对网格进行了典型的网络扫描，然后将其安装在她周围，然后对其进行雕刻并用于纹理烘焙。最后，Frandsen在Marvelous中构建了其他图层，并将其覆盖在顶部。

Concerned with getting even the smallest details right – tying up loose ends, if you will – Frandsen also took some clothing pieces into ZBrush and did a sculpted pass for stitches and other seam-level details to export as the normal maps.

考虑到即使是最小的细节也要正确处理(如果可以的话，可以绑住松散的一端)，Frandsen还带了一些衣服到ZBrush中，并做了雕刻过的针迹和其他接缝级别的细节，可以作为法线贴图输出。

关于下一代效应的老派建议 (Old-school advice for next-gen effects)

Finally, what advice does Harvey have for anyone trying to mimic the best-looking cloth animation ever achieved in Unity?

最后，对于试图模仿Unity中有史以来最好看的布料动画的人，哈维有何建议？

“I would recommend that they start with sewing patterns. Use real references, base it in real physicality. Those are always smart things to do.”

“我建议他们从缝制图案开始。使用真实的参考，以真实的身体为基础。这些总是很聪明的事情。”

More “Behind the Scenes” in ADAM
Check out our other in-depth posts on lighting, Alembic support, and Timeline.

ADAM中的更多“幕后花絮”
请查看我们有关照明， Alembic支持和时间表的其他深入文章。

了解有关Unity的更多信息 (Learn more about Unity)

Find out how Unity 2017 and its features like Timeline, Cinemachine, Post-Processing Stack, and real-time rendering at 30 FPS help teams like Oats Studios change the future of filmmaking.

了解Unity 2017及其时间轴，电影机，后处理堆栈和30 FPS实时渲染等功能如何帮助Oats Studios等团队改变电影制作的未来。